A 

A 

0 

0 
0 

2 


Biomed. 

WV 

500 

F481r 

1888 


1   -     -^ 

8  e 

-r~ 

4  = 

•m    S-- 

2  ^ 

■    "T> 

6  a 

^^^^    — ' 

c      ^^ 

1 

D3 
O 


THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

LOS  ANGELES 


^  c<^^ 


/ 


L  y  A,  lUM^^^-^^^r^ 


THE  RELATIONS  OF  THE  TEETH  AND 
PALATE  TO  VOCALISM. 


BY 


THOS.  iFILLEBROWN,  M.  D.,  D.  M.  D.,  Professor 


v^ 


OF  Operative  Dentistry  Harvard  University. 


Read  at  the  Union   Meeting  of  the   Massachusetts  and  Connecticut 
Valley  Dental  Societies,  Boston,  July,   1888. 


From 

THE  INDEPENDENT  PRACTITIONER, 

November,   1888. 


lAiV 


THE  RELATION  OF  THE  TEETH  AND  PALATE  TO  VOCALISM. 


BY    THOMAS    FILLEBROWN,    M.  D.,  D.  M.  D. 


Read  before  the  Union  Meeting;  of  the  Connecticut  Valley  and  Massachusetts 
Societies,  Boston,  Mass.,  July  10,  1888. 


The  rcliition  of  dentists  to  the  oral  cavity  is  such  as  to  demand 
of  them  a  thorough  understanding  of  all  that  pertains  to  its  func- 
tions, as  well  as  its  anatomy-  and  pathology.  Vocalization  and 
articulation  are  among  its  most  important  functions,  and  worthy 
the  thoughtful  consideration  of  this  body. 

Having  had  considerable  personal  experience  in  vocal  culture, 
favorable  and  unfavorable,  and  also  in  the  forming  and  adjusting  of 
obturators  for  cleft  palate,  I  have  been  led  to  study  the  subject 
more  or  less  thoroughly,  and  I  find  my  conclusions  so  radically  dif- 
ferent from  the  teachings  of  dental  text-books, that  I  feel  constrained 
to  offer  them  for  your  consideration. 

The  action  of  the  soft  palate  has,  perhaps,  greater  influence 
upon  the  tone  of  the  voice  than  any  other  organ.  I  have  consulted 
many  treatises  on  both  singing  and  speaking,  and  nearly  every 
writer  has.  according  to  my  observations, entirely  misconceived  the 
action  ofthevelnm.  Drs.  Flint  and  Lennox  Brown  are  the  more 
notable  exceptions.  It  affords  me  satisfaction  to  observe  that  by 
personal  consultation  I  find  that  leacJu^rs  of  singing  and  speaking 
are,  m  many  cases,  giving  much  better  instruction  than  is  written 
in  the  books. 

Few  writers,  indeed,  have  made  personal  examinations  on  the 
subject,  but  have  been  content  to  take  for  granted  the  general  ideas 
of  others.  Not  a  single  work  on  oratory  tiiat  I  have  been  able  to 
find  gives  any  definite  idea  at  all  of  the  action  of  the  organs  of  the 
human  vocal  apparatus  and  in  them  no  attempt  is  made  to  define,  de- 


2  The  Relation  of  the  Teeth  and  Palate  to  Vocalism. 

scribe  or  explain  the  action  of  the  soft  palate.  Some  physiologists 
have  described  its  action,  as  observed  by  them,  but  in  wrongly 
educated  subjects. 

Dr.  Kingsley  says  :  *  "  Pure  vocal  sounds  can  be  made  by 
the  resonance  of  the  buccal  cavity  alone.  Let  any  other  cavity 
communicate  with  it,  and  the  purity  of  the  vowel  sounds  is  de- 
stroyed. If  there  be  any  escape  of  breath  or  sound,  however 
small,  behind  the  curtain  of  the  palate,  the  vowels  will  be 
nasalised." 

Dr.  Carl  Seller  states  :  f  "  The  cavities  of  the  nasopharynx 
and  nose  are  separated  from  the  direct  influence  of  the  vibrations 
of  the  vocal  cords  by  the  adaptation  of  the  soft  palate  to  the 
pharyngeal  wall." 

Dr.  Seller  conceives  the  head  cavities  to  be  a  reinforcing 
power,  but  thinks  they  are  set  in  vibration  through  the  walls  of 
the  palate,  and  not  through  an  opening  behind  the  velum. 

This  is  entirely  at  variance  with  facts,  as  verified  by  my  own 
experience  and  observation.  The  true  office  of  the  soft  palate  is 
not  to  close  but  to  modify  the  opening  into  the  nares,  and  thus 
attune  the  resonant  cavities  to  the  pitch  and  timbre  of  the  note 
given  by  the  vocal  cords,  throat  and  pharynx.  A  sound  confined 
to  the  throat  and  mouth  is  harsh,  weak,  and  without  penetrating 
power  ;  but  aided  by  the  reinforcing  vibrations  of  the  nasal  and 
head  cavities,  the  voice  becomes  soft,  strong  and  far-reaching,  and 
agreeable  to  the  ear  of  the  listener. 

To  understand  how  the  palate  or  teeth  affect  vocalism,  we 
must  understand  how  the  best  tone  is  produced.  This  we  can  get 
by  studying  the  organs  themselves  and  their  action.  The  organs 
which  sfive  forth  the  human  voice  constitute  a  musical  instrument 
of  great  range  and  power.  Every  truly  musical  instrument  has  in 
it  three  elements — a  power,  a  vibrator  and  a  resonator.  The  violin 
has  the  bow  for  a  power,  the  string  for  a  vibrator,  and  a  hollow 
body  with  its  contained  air  for  a  resonator.  The  French  horn  has 
the  lungs  of  the  player  for  a  power,  the  lips  for  a  vibrator,  and  the 
gradually  enlarging  tube,  terminating  in  the  flaring  bell  shape,  to 
produce  the  quality  and  resonance. 

*  Oral  Deformities. 

t  American  System  of  Dentistry,  Vol.  III. 


The  Relation  of  llie  Teeth  an.d  Palate  to  Vocalism.  3 

In  all  of  these  instruments,  the  quality  and  power  of  the  tone 
depends  upon  the  presence  of  these  three  parts,  and  their  perfection 
of  construction  and  proper  relation  as  regards  each  other  as  to  size 
and  position,  and  upon  the  perfect  use  of  each  part. 

A  split  sounding-board  spoils  the  piano  ;  a"  cracked  fiddle  "is 
the  synonym  for  everything  disagreeable;  and  the  indented  bell 
destroys  the  lovely  tone  of  the  French  horn. 

The  human  vocal  instrument  has  these^  three  elements,  and 
each  element  variable  according  to  the  will  or  feeling  of  the  player. 
This  constitutes  a  modifying  power,  which  gives  a  variety  of  qual- 
ity known  in  no  other  instrument,  and  makes  it  the  wonder  and 
admiration  of  mankind.  To  these  is  added  another  element — 
orsrans  for  articulation. 

In  this  human  instrument : 

1 .  The  lungs  give  the  power. 

2.  The  vocal  cords  are  the  vibrator. 

;i     The  nasal  and  head  cavities  are  the  resonator. 

4.     The  month  and  lips  are  the  articulator. 

The  modification  of  these  parts,  produced  by  the  feelings  of 
the  singer  or  speaker,  give  qualities  of  tone  expressive  of  any  emo- 
tion a  person  may  feel,  as  pain  or  pleasure,  joy  or  grief,  courage  or 
fear. 

The  quality  and  power  of  resonance  is  well  illustrated  by  a 
tuning-fork,  which,  if  set  in  vibration,  can,Mniaided,  be  heard  but  a 
little  distance,  and  onl}'  faintl}' ;  but  if  rested  upon  a  table  or  plate 
of  glass,  or,  better,  upon  the  edge  of  the  bridge  of  this  violin,  it  will 
set  up  a  series  of  vibrations  of  the  same  pitch  and  character,  which 
are  distinctly  heard  throughout  this  large  hall.  A  column  of  air, 
contained  in  a  cylinder  or  pipe  of  the  size  and  length  to  reproduce 
the  note,  or  a  bottle  with  a  neck  the  right  size,  will  produce  the 
same  effect  when  the  vibratory  fork  is  held  before  the  opening  ;  but 
if  the  opening  be  stopped  up,  the  vibrations  can  be  only  very  im- 
perfectly and  faintly  reproduced. 

The  walls  and  contained  air  of  the  head  cavities,  which  consist 
of  the  mastoid  and  ethmoid  cells,  the  antra,  vomer,  turbinated 
bones  and  frontal  sinuses,  present  a  vibrator}'  surfnce  of  scarcely 
less  than  fiftj'  square  inches,  and  contain  from  twelve  to  twenty 
cubic    inches   of  air,   and    constitute  a    resonator   of    wonderful 


4  The  llelalion  of  the  Teeth  and  Palate  to  Vocalinm. 

power;  but  if  they  be  shut  off  from  the  vibratory  cords  by 
closing  of  the  velum  against  the  posterior  wall  of  the  pharynx, 
their  resonating  power  is  lost,  and  the  tone  goes  out  undeveloped. 
The  tuning-fork  was  not  heard,  but  the  vibrations  of  the  resonant 
violin  upon  what  it  rested  were  loud  and  prolonged,  and  filled  the 
hall.  The  vibrations  of  the  vocal  cords  alone  are  insignificant. 
It  is  the  vibrations  of  the  resonant  apparatus  of  the  human  instru- 
ment which  give  pleasure  to  the  ear,  and  are  sonoriisand  far  reaching. 

The  nasal  tone  so  much  dreaded  b^^  vocal  teachers,  and  the 
"  Yankee  voice  "  is  not  produced  by  an  open  palate, and  the  vibrations 
extending  to  the  nasal  passages,  but  by  obstruction  priuci pally  of 
the  outer  nasal  passages  by  contraction  of  the  alaj  of  the  nose.  If 
the  nostrils  be  conti'acted  by  muscular  actions  or  by  outward  pres- 
sure, the  nasal  twang  will  be  pronounced  ;  but  if  the  nostrils  be 
fully  opened  a  full  clear  tone  is  given  out.  If  while  giving  the 
pro-longed  sound  of  ng  the  exterior  opening  of  the  nose  be  alter- 
nately compressed  and  distended  the  ditlerence  in  the  sound  will  be 
very  marked  as  to  nasal  quality.  The  genuine  ''  Yankee  tone  " 
seems  to  be  dependent  also  upon  a  contraction  of  the  posterior 
nares  and  elevation  of  the  dorsum  of  the  tongue  ;  but  the  pure 
nasal  quality  is  produced  as  above  described. 

That  the  velum  is  drawn  forward  allowing  a  free  passage  into 
the  posterior  nares  during  the  vowel  sounds,  I  have  had  proven  by 
observations.  Prof.  Harrison  Allen,  of  Philadelphia,  kindly  gave 
his  attention  to  the  matter  and  mnde  examinations  for  the  purpose 
and  found  this  to  be  the  case.  Dr.  I.  E.  Kimball,  of  Portland,  also 
verified  the  conditions,  and  Lennox  Brown  makes  the  same  state- 
ment. 

Singers  cannot  obtain  the  best  quality'  of  voice  except  in  this 
way,  and  as  speaking  is  only  modified  singing  the  same  rule  holds 
good  for  the  formal  speaker  as  for  the  singer.  Because  the 
singing  voice  is  so  much  better  understood,  I  have  analyzed  its 
productions  to  illustrate  the  formations  and  delivery  of  the  speak- 
ing voice. 

Singing  is  a  formal  continuous  tone   unbroken   between  the 
words.    Speaking  is  broken  between  the  words  and  syllables.    Sing- 
ing is  confined  to  some  particular  pitch  and   changes   from  one 
pitch  to  another  by  regular  intervals. 
» 


The  Relation  of  the  Teeth  and  Palate  to  Vocalism. 


Speaking  is  unrestrained  by  such  limits  and  varies  without 
reUition  to  pitch  or  interval.  Yet  the  acooni[)lished  speaker  uses 
ver}'  largely  a  definite  pitch  and  musical  tone. 

The  singing  and  speaking  tones  are  produced  by  the  vocal 
organs  in  the  same  way  and  in  precisel}^  the  same  focus  with 
the  same  resonance  and  the  same  articulation  is  used. 

A  great  deal  is  said  and  Avritten  about  a  "  pure  tone ;  "  but 
writers  do  not  describe  it,  and  it  is  meaningless  in  itself. 

We  are  told  to  speak  and  sing  natural,  for  the  natural  tone  is 
correct.  This  is  also  indefinite.  What  is  a  natural  tone  ?  It  is  na- 
tural for  a  child  to  imitate  the  first  sound  it  hears;  t  ma}'  be  the 
French  nasal,. the  German  gutteral  or  the  American  open-tone.  In 
either  case  the  child  imitates  and  for  itthis-becomes  the  natural  tone. 

To  be  natural  is  the  hardest  lesson  to  learn,  and  it  is  only  the 
result  of  severe  and  prolonged  discipline.  Untrained  naturalness 
is  the  perfection  of  awkwardness. 

The  involuntary  functions  of  organic  life  are  the  onlj-  ones 
naturally  performed  correctly.  Nature's  method  of  circulation, 
swallowing  and  breathing  can  be  depended  upon,  and  the  initial 
cry  of  the  infant  when  ushered  into  the  world  has  the  true  ring, 
which  is  recognized  throughout  the  house.  But  unless  established 
in  their  action  b}^  imitation  and  discipline,  their  functions  will 
soon  be  corrupted  b}'  false  examples. 

The  essential  qualities  of  a  tone 
are  now  recognised  to  be  softness  and 
resonance,  the  last  making  it  far- 
reaching  and  effective.  Power  and 
volume  are  the  product  of  increased 
resonance  and  largeness.  Resonance 
is  increased  by  the  more  perfect 
focusing  of  the  vibrations.  Largeness 
is  improved  by  a  general  expansion 
of  thecavities  of  the  throat,  mouth 
and  nose,   especially  by  depression 

^'g-  ^-  of  the   tongue.     To   properly   form 

Fijjr  1  sliows  the   position  the  i     i   t  *„  n    iK„     ^, „„„ 

,  .    "^    1   .  Ill   „o..,.v,^  find   deliver  a  tone  ail   the    organs 

palate  ami    tongue   shoiuu   assume  t]' 

while  giving  the  sounds  of  vowels   involved  should  l)e  correctly  trained 

and  .lipthongs-a,  e,  i,  o ;  60,  oi.  oy,    ^^^^^  ^^jj  ^^^^^^^ 

ou. 


The  Relation  of  the  Teeth  and  Palate  to  Vocalism. 


Correct  breathing  is  very  essential,  and  tliis  is  universally 
conceded  to  be  the  abdominal  breathing.  The  lower  part  of  the 
thorax  is  enlarged  laterally,  and  the  abdomen  is  enlarged  both 
laterally  and  anteriorly  by  the  depression  of  the  diaphragm. 

The  shoulders  should  never  be  raised  a  particle,  but  should 
remain  as  fixed  as  were  Demosthenes  under  the  points  of  the 
swords  hung  above  him. 

Expel  the  breath  by  contraction  of  the  ab- 
dominal muscles  ;  and  in  proportion  as  they  are 
trained  and  strengthened  will  the  possible  force 
and  intensity  of  the  tone  increase.  The  weak- 
ness of  many  singers  is  tlie  result  of  weak  breath- 
ing.  Observe  a  sleeping  infant;  it  will  afford  a 
perfect  example  of  abdominal  breathing,  and  no 
one  could  have  a  suspicion  of  sex  from  any  dif- 
ference in  the  function.  In  my  judgment  all 
the  peculiarities  of  female  breathing  are  the  re- 
sult of  customs  practiced  in  after  life. 

Fig.  2  is  the  profile  of  an  accomplished 
vocalist  and  shows  correct  breathing.  It  is  worthy  of  notice  how 
much  more  the  breathing  capacity  can  be  lessened  than  increased 
from  the  state  of  rest, 

1  Position  of  diaphragm  at  rest. 


5 
6 

o 
O 

4 
2 


"  (luring  full  inspiration. 

"  "         "     expiration. 

Chest  and  abdomen  at  rest. 

"        ''  "  full  ins[)iration. 

"        "  '•  "    expiration. 


The  larynx  should  rest  in  the  position  it  takes  during  a 
yawning  inspiration  ;  any  bobbing  around  or  up  and  down  is  detri- 
mental to  the  quality  of  the  tone  and  injurious  to  the  organ. 

The  head  should  be  inclined  a  little  forward,  the  chin  down, 
and  the  under  jaw  drawn  back,  the  tongue  should  lie-  as  low  as 
possible  in  the  mouth,  and  the  mouth  and  pharynx  made  large. 

This  will  throw  the  velum  forward  and  open  a  free  passage 
into  the  nares. 

The  principal  centre  of  vibrations  is  the  middle  of  the  nose. 
The  tone  should  seem  to  be  mnde  in  the  nose  and  head,  and  the 


The  Relalion  of  the  Teetli  and  Palate  to  Vocalisin. 


vibrations  can  be  plainly  felt  by  placing  the  linger  lightly  on  the 
thin  bones  of  the  nose  or  npon  the  top  of  the  head. 

All  good  singers  produce' 
their  upper  notes  in  this 
way ;  but  many  take  the 
lower  notes  differently.  I 
am  quite  full}"  convinced  that 
the  more  nearl}'  the  voice  is 
focused, as  here  described  on 
low  tones  as  well  as  high,  the 
better  the  tone  will  be,  and 
only  in  this  way  can  the  best 
results  of  which  a  voice  is 
capable  be  obtained. 

The  center  of  articulation 
is  apparently  through  the 
necks  of  the  upper  teeth  and 
lip. 

If  these  rules  are  observed 
tlie  voice    will    not    be  dis- 
posiTioN  OF  uKAi)  ANi>  (11  I.N.  turbcd   b}'  articulation,  and 

the  speech  will  seem  to  be  entirely  independent  of  the  tone  as  the 
articulation  of  the  solo  singer  is  independent  of  the  organ  tone 
which  surrounds  her,  though  she  sets  all  the  air  in  vibration 
by  speaking  the  notes. 

Many  theories  are  held  as  to  the  registers  of  the  voice. 
Some  claim  one,  some  three,  others  six.     While  one  at  least  linds 
as  man}'  registers  as  there  are  notes  in  the  compass  of  the  voice. 

Reiiister  means  as  I  understand  it  a  condition  of  the  vocal 
organs  as  to  position, focus  or  tension,  of  one  or  more  parts,  which 
changes  when  passing  from  one  register  to  another. 

My  own  studies  lead  me  to  the  belief  there  is  but  one  register, 
or  rather  no  such  thing,  further  than  it  applies  to  the  compass  of 
the  voice.  Such  as  head,  middle  and  chest  registers,  are  artificial 
divisions  made  by  education,  and  to  my  mind  a  false  education.  Of 
one  thing  I  feel  sure,  that  if  a  singer  or  speaker  will  focus  and  de- 
liver the  tones  throughout  the  compass  of  the  voice,  as  described 


8  The  Relation  of  the  Teeth  and  Palate  to  Vocahsm. 

• 
in  this  paper  the  questions  of  registier  need  never  be  raised,  and 

the  difficulties  of  "blending  the  registers  "  will  never  be  found. 

Vocal  organs  used  as  thus  described,  will  scarcel}^  feel  fatigue, 
and  hoarseness  will  be  to  them  almost  unknown, and  "  minister's  sore 
throat  "  au  unheard  of  trouble. 

To  obtain  the  best  results  each  organ  of  the  voice  must  be  not 
only  well  trained,  but  well  formed  in  all  of  its  parts  ;  hence,  if  the 
teeth  are  mal-formed,  irregular,  or  there  are  spaces  between  the 
anterior  teeth,  or  they  suffer  other  mal-arrangement,  the  quality 
of  the  voice  will  be  disagreeably  affected. 

A  i)rominent  upper  or  under  jaw  or  the  absence  of  one  or  more 
teeth  render  vocalizations  and  articulations  more  or  less  imperfect 
and  i)eculiar. 

The  palate  must  also  be  perfect,  and  harmony  of  proportions 
and  relations  must  exist  between  all  parts  of  the  vocal  organs. 
Artificial  substitutes  for  lost  orabsentparts,whetherthey  be  teeth  or 
palate,  can  never  fullyperform  thefunctionsof  the  natural  members. 
The  exj)ectations  of  the  patient  and  their  friends  may  be  moderated 
so  far  as  to  be  fulfilled  ;  but  to  the  educated  ear,  the  imperfection 
will  be  ai)parent. 

The  soft  palate  moves  in  all  directions,  not  only  forward  and 
l)ackward,  but  upward  and  downward  ;  it  also  shortens  and 
lengthens.  As  yet  no  obturator  has  been  constructed  that  can 
compass  more  than  the  two  first  movements,  consequently  it  cannot 
perfectl}'^  supi)ly  the  absent  part. 

Dr.  Kingsley's  flat  soft  nibbva'  velum  more  nearly  fulfills  the 
conditions  required  than  an^-  other  yet  invented,  and  if  the  ma- 
teiial  was  not  so  perishable,  it  would  be  all  that  could  be  reason- 
ably desired.  The  ball  obturator  hung  in  the  throat  is  unphilosophi. 
cal  and  un-physiological.  It  tillt^  up  the  passage  to  the  nares  and  ob- 
structs the  entrance  to  the  resonator  of  the  voice.  Thus  doing 
precisely  what  it  is  desirable  to  educate  the  natural  velum  not  to  do. 

Hard  rubber  is  cleanly  and  durable,  and  is  the  best  material 
for  this  purpose. 

An  obturator  which  has  served  me  best  is  one  made  of  hard 
rubber  nearly  flat,  curved  to  correspond  to  the  form  of  the  natural 
velum  long  enough  to  reach  back  againstti.e  anterior  tubercle  of  the 
atlas  and  attached  to  a  plate  b}'  a  hinge  or  otherwise  so  as  to  move 


The  Relation  of  the  Teeth  and  Palate  to  Vocalism.  9 

freely  back  aud  forth  with  the  edges  rounded,  and  so  formed  that  the 
muscles  of  the  split  velum  will  just  close  forward  of  it  and  carry 
it  back  against  the  posterior  wall  of  the  pharynx  during  swallow- 
ing or  speaking.  The  sizes  and  form  of  the  velum  at  the  upper 
portion  where  the  hinge  is  attached,  should  just  fit  the  notch  of 
the  cleft  so  the  parts  will  just  close  ai'ound  it  tight  when  they 
contract.  Such  an  instrument  serves  ver}^  nearly  the  purpose  of  the 
soft  rubber  velum,  and  is  in  harmony  with  the  philosoph}^  of  voice 
production  as  to-day  demonstrated. 

The  training  of  the  larynx  must  be  negative.  The  position  is 
easily  determined  by  a  3awning  inhalation.  The  effort  of  the  mind 
must  be  to  leave  it  unrestrained  by  the  action  of  the  supporting 
and  surrounding  muscles.  The  pitch  is  determined  by  the  interior 
muscles  controlling  the  vocal  cords.  Contraction  of  the  muscles 
exterior  to  the  larynx  is  one  great  cause  of  the  throaty  tone  so 
common  and  so  injurious. 

Any  exercise,  as  lifting,  rowing  or  dumb-bell,  which  requires 
a  fixation  of  the  breath,  will  strengthen  the  abdominal  and  thoracic 
muscles  and  increase  the  breathing  power.  Full,  deep  and  pro- 
longed inspiration  will  increase  the  breathing  capacit3'.  Slow  in- 
spiration and  expiration  will  give  control  of  the  muscles,  and 
enable  one  to  use  at  will  the  power  and  capacity  acquired. 

Any  organ,  to  perform  its  best  office,  must  be  both  well  trained 
and  well  strengthened.  A  few  rules  briefly  expressed  will  suffice 
to  make  the  matter  plain. 

The  vocal  cords  ma}'^  be  strengthened  b}'  use.  Take  vocal  ex- 
ercise frequentl}',  but  for  a  short  time,  and  always  within  the  limits 
of  the  voice.  Avoid  all  harshness  or  stridency  of  tone;  cultivate 
softness  and  seek  to  increase  the  power  by  enlarging  the  cavities  of 
the  throat  and  mouth. 

To  develop  the  power  of  the  resonant  cavities  of  the  head, 
produce  a  tone  which  is  especially  dependent  on  them.  The  sound  of 
vg  is  the  best  for  this  purpose.  While  giving  this  tone  all  the  organs 
are  in  a  jDerfect  position  for  producing  the  vowel  sounds,  save  the 
tongue;  this,  of  course,  is  drawn  up  against  the  soft  palate. 

Pronounce  words  ending  in  iiuj^  giving  the  vowels  as  little 
time  as  possible,  and  prolonging  the  ng  for  a  number  of 
beats.      This    practice   persistenth'   followed   will    set    the    nose 


10  The  Relation  of  the  Teeth  and  Palate  to  Voealis-m. 

and  head  in  vibration,  and  focus  tlie  sound  at  exactly  the  right 
point. 

The  vowels  are  best  practiced  in  the  order — e,  oo,  a,  a  as  e 
is  much  the  easiest  to  focus  and  ii  the  most  difficult. 

The  sound  of  each  vowel,  on  each  and  every  note,  should  cen- 
ter the  vibration  the  same  as  the  ng,  and  this  is  the  test  by  which 
each  person  can  know  if  the  tone  is  given  correctly. 

With  the  formation  of  the  tone  I  leave  the  subject. 

Many  other  points  crowd  upon  our  attention  in  connection 
with  this,  but  the  limits  of  the  hour  will  not  permit  any  attempt  to 
discuss  them  at  the  present  time. 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 

Los  Angeles 

This  book  is  DUE  on  the  last  date  stamped  below. 


OCT    1'80 
LIB. 


OCTSOREC'D 


Form  L9-nGTO-8,'62(D1237sS)444 


3  1158  00554  7137 


f~ 


UC  SOUTHERN  REGIONAL  LIBRARY  FACILITY 


AA      000  218  426    5 


; 


i; 


S 


